Table Of ContentNEW YORK REVIEW BOOKS
CLASSICS
STONER
JOHN WILLIAMS (1922-1994) was born and raised in Northeast Texas. Despite a talent for writing
and acting, Williams flunked out of a local junior college after his first year. He reluctantly joined the war
effort, enlisting in the Army Air Corps, and managing to write a draft of his first novel while there. Once
home, Williams found a small publisher for the novel and enrolled at the University of Denver, where he
was eventually to receive both his B.A. and M.A., and where he was to return as an instructor in 1954.
Williams was to remain on the staff of the writing program at the University of Denver until his retirement
in 1985. During these years, he was an active guest lecturer and writer, publishing two volumes of poetry
and three novels, Butcher's Crossing (forthcoming from NYRB Classics), Stoner, and the National Book
Award--winning Augustus.
JOHN McGAHERN (1934-2006) was one of the most acclaimed Irish writers of his generation. His
work, including six novels and four collections of short stories, often centered on the Irish predicament,
both political and temperamental. Amongst Women, his best-known book, was shortlisted for the Booker
Prize and made into a popular miniseries. His last book, the memoir All Will Be Well, was published
shortly before his death.
STONER
JOHN WILLIAMS
Introduction by JOHN McGAHERN
NYRB New York
THIS IS A NEW YORK REVIEW BOOK PUBLISHED BY THE NEW YORK REVIEW OF
BOOKS 435 Hudson Street, New York, NY 10014
Copyright (c) 1965 by John Williams Introduction copyright (c) 2003 by John McGahern All rights
reserved.
Library of Congress Cataloging-in-Publication Data Williams, John Edward, 1922— Stoner / John
Williams.
p. cm. -- (New York Review Books classics) ISBN 1-59017-199-3 (alk. paper) 1. Literature--Study
and teaching--Fiction. 2. English teachers--Fiction. 3. College teachers--Fiction. 4. Marital conflict--
Fiction. 5. Middle West Fiction.
6. Adultery--Fiction. I. Tide. II. Series. PS3545.I5286S7 2006 813'.54--dc22
2005022751
ISBN 978-1-59017-199-8
Printed in the United States of America on acid-free paper. 10 9 8 7 6
Introduction
I
II
III
V
VI
VII
VIII
IX
X
XI
XII
XIII
XIV
XV
XVI
XVII
Introduction
On the opening page of this classic novel of university life, and the life of the
heart and the mind, John Williams states bluntly the mark Stoner left behind:
"Stoner's colleagues, who held him in no particular esteem when he was alive,
speak of him rarely now; to the older ones his name is a reminder of the end that
awaits them all, and to the younger ones it is merely a sound that evokes no
sense of the past and no identity with which they can associate themselves or
their careers." In plain prose, which seems able to reflect effortlessly every shade
of thought and feeling, Williams proceeds to subvert that familiar worldly
judgment by bringing Stoner, and everything linked to him--the time, the place,
the people--vividly to life, the passion of the writing masked by coolness and
clarity of intelligence.
Stoner's origins were as humble as the earth his parents worked. In the
beginning they are shown as hardly more animate than their own clay, but in
vivid scenes, such as their attendance at Stoner's wedding to a banker's daughter,
their innate dignity and gentleness contradict that easy judgment, and towards
the novel's end Stoner himself seems to acquire their mute, patient strength.
Stoner was an only child, and though good at school had no other
expectation than to one day take over the fields he was already helping to work.
One evening after the day's toil his father said, "Country agent came by last
week... Says they have a new school at the University of Columbia. They call it
a college of agriculture. Says he thinks you ought to go."
At the university he earns his bed and board by working on a nearby farm
owned by a first cousin of his mother. This is bare board and hard, brutal work,
but he gets through it stoically, in much the same way as he gets through the
science courses at the university. "The course in soil chemistry caught his
interest in a general way... But the required survey of English literature troubled
and disquieted him in a way nothing had ever done before."
The instructor Archer Sloane changes his life. He abandons science to study
literature. At the prompting of his mentor, he stays on at the university, laboring
on the cousin's farm while obtaining his Master of Arts. At his graduation he
tries to tell his parents that he will not be returning to their farm when they come
to attend the degree ceremony. "If you think you ought to stay here and study
your books, then that's what you ought to do," his father concludes towards the
end of that moving scene.
The novel then details the outwardly undistinguished career of an assistant
professor of English within the walls of the university: his teaching, his reading
and his writing, his friendships, his falling in love with an idealized woman, his
slow and bitter discovery of that person once they marry, and how their gentle,
pliable daughter becomes the wife's chosen battleground. Outside the marriage,
stoner's affair with a young teacher becomes entwined in bitter, vindictive
university politics.
This love affair between two intelligent people is brought to life with a rare
delicacy. A healthy sensuality is set against their vulnerability as they discover
the glory of the first day of the world. "The life they had together was one that
neither of them had really imagined. They grew from passion to lust to a deep
sensuality that renewed itself from moment to moment." They study, they
converse, they play. "They learned to be together without speaking and they got
the habit of repose." Not only did they find pleasure in one another but meaning,
which is drawn with playful, affectionate irony. "Like all lovers, they spoke
much of themselves, as if they might thereby understand the world which made
them possible."
Integral as it is to the plot, the love affair serves more importantly in the
overall vision as a source of light in the darkness of Stoner's marriage, a
powerful suggestion of the happiness that might have been.
Stoner's wife is a type that can be glimpsed in much American writing,
through such different sensibilities as O'Neill, Tennessee Williams, Faulkner,
Scott Fitzgerald--beautiful, unstable, educated to observe the surfaces of a
privileged and protected society--but never can that type of wife have been
revealed as remorselessly as here:
She was educated upon the premise that she would be protected
from the gross events that life might thrust in her way, and upon the
premise that she had no other duty than to be a graceful and
accomplished accessory to that protection, since she belonged to a
social and economic class to which protection was an almost sacred
obligation ... Her moral training both at the schools she attended and at
home, was negative in nature, prohibitive in intent, and almost entirely
sexual. The sexuality, however, was indirect and unacknowledged;
therefore it suffused every other part of her education, which received
most of its energy from that recessive and unspoken moral force. She
learned that she would have duties towards her husband and family and
that she must fulfill them... Her needlepoint was delicate and useless,
she painted misty landscapes of thin water-color washes, and she
played the piano with a forceless but precise hand; yet she was ignorant
of her own bodily functions, she had never been alone to care for her
own self one day of her life, nor could it ever have occurred to her that
she might become responsible for the well-being of another... Upon that
inner privacy William Stoner now intruded.
They marry without knowledge of one another and with nothing in common
but desire. Their sexual incompatibility is described with the same chasteness as
the deep sensuality of the lovers:
When he returned, Edith was in bed with the covers pulled to her chin, her
face turned upward, her eyes closed, a thin frown creasing her forehead. Silently,
as if she were asleep, Stoner undressed and got into bed beside her. For several
moments he lay with his desire, which had become an impersonal thing,
belonging to himself alone. He spoke to Edith, as if to find a haven for what he
felt; she did not answer. He put his hand upon her and felt beneath the thin cloth
of her nightgown the flesh he had longed for. He moved his hand upon her; she
did not stir; her frown deepened. Again he spoke, saying her name to silence;
then he moved his body upon her, gentle in his clumsiness. When he touched the
softness of her thighs she turned her head sharply away and lifted her arm to
cover her eyes. She made no sound.
Her sexuality then changes violently when she decides she wants a child and
ceases completely as soon as she is pregnant. Soon after their daughter is born,
the child becomes the focus of the mother's inner turmoil, her unresolved hatred
of Stoner. If the portrait has a flaw, it is in its remorselessness, yet such is the
clarity of the understanding that we come to accept it simply as the way things
are, in the same way as the love affair becomes the way things ought to have
been.
In the many minor portraits the touch is equally sure and psychologically
astute: "Like many men who consider their success incomplete, he was
extraordinarily vain and consumed with a sense of his own importance. Every
ten or fifteen minutes he removed a large gold watch from his vest pocket,
looked at it, and nodded to himself." There are Stoner's friends, the brilliant
David Masters, who gives voice to some of John Williams's own views on the
nature of a university, goes to the war and is killed in France; the worldly
Gordon Finch who returns from the war with military honors to the university,
where he rises to be dean of the faculty. Finch remains Stoner's loyal if
sometimes exasperated ally and protector within the university, and his
uncomplicated friendship is there for the whole of Stoner's life. We witness, too,
the slow decline of Stoner's mentor, Archer Sloane, and the rise of his
replacement, Hollis Lomax, who becomes Stoner's implacable enemy. In a novel
of brilliant portraits, that of Hollis Lomax is the most complex. Some of the
scenes of conflict are almost unbearable in their intensity.
Stoner is also a novel about work, the hard unyielding work of the farms; the
work of living within a destructive marriage and bringing up a daughter with
patient mutability in a poisoned household; the work of teaching literature to
mostly unresponsive students. How Williams manages to dramatize this almost
impossible material is itself a small miracle.
In a rare interview given late in life, John Williams says of Stoner:
I think he's a real hero. A lot of people who have read the novel
think that Stoner had such a sad and bad life. I think he had a very good
life. He had a better life than most people do, certainly. He was doing
what he wanted to do, he had some feeling for what he was doing, he
had some sense of the importance of the job he was doing. He was a
witness to values that are important... The important thing in the novel
to me is Stoner's sense of a job. Teaching to him is a job--a job in the
good and honorable sense of the word. His job gave him a particular
kind of identity and made him what he was... It's the love of the thing
that's essential. And if you love something, you're going to understand
it. And if you understand it, you're going to learn a lot. The lack of that
love defines a bad teacher... You never know all the results of what you
do. I think it all boils down to what I was trying to get at in Stoner.
You've got to keep the faith. The important thing is to keep the tradition
going, because the tradition is civilization.
John Williams is best known for his novels, Nothing But the Night, Stoner,
Butcher's Crossing, and Augustus, for which he won the National Book Award
in 1973. He also published two volumes of verse and edited a classic anthology
of English Renaissance poetry. The novels are not only remarkable for their style
but also for the diversity of their settings. No two novels are alike except for the
clarity of the prose; they could easily pass for the work of four different writers.
In the course of the long and fascinating interview that Williams gave to Brian
Wooley from which I have quoted his remarks about Stoner, it grows clear that
of the four novels Stoner is the most personal, in that it is closely linked to John
Williams's own life and career, without in any way being autobiographical. The
interview was given in 1985, the year Williams retired as Professor of English
from the University of Denver where he had taught for thirty years. Pressed
towards the end of the interview he complains about the change away from pure
study within the universities, the results of which cannot be predicted, towards a
purely utilitarian, problem-solving way of doing things more efficiently, both in
the arts and sciences, all of which can be predicated and measured. Then, more
specifically, Williams complains about the changes in the teaching of literature
and the attitude to the text "as if a novel or poem is something to be studied and
understood rather than experienced. " Wooley then suggests playfully, "It's to be
exegeted, in other words." "Yes. As if it were a kind of puzzle." "And literature
is written to be entertaining?" Wooley suggests again, "Absolutely. My God, to
read without joy is stupid."
There is entertainment of a very high order to be found in Stoner, what
Williams himself describes as "an escape into reality" as well as pain and joy.
The clarity of the prose is in itself an unadulterated joy. Set a generation back
from Williams's own, the novel is distanced not only by this clarity and
intelligence but by the way the often unpromising material is so coolly
dramatized. The small world of the university opens out to war and politics, to
the years of the Depression and the millions who "once walked erect in their own
identities," and then to the whole of life.
If the novel can be said to have one central idea, it is surely that of love, the
many forms love takes and all the forces that oppose it. "It [love] was a passion
neither of the mind nor of the heart, it was a force that comprehended them both,
as if they were but the matter of love, its specific substance."
---JOHN MCGAHERN
STONER
This book is dedicated to my friends and former colleagues in the
Department of English at the University of Missouri. They will recognize at
once that it is a work of fiction--that no character portrayed in it is based upon
any person, living or dead, and that no event has its counterpart in the reality we
knew at the University of Missouri. They will also realize that I have taken
certain liberties, both physical and historical, with the University of Missouri, so
that in effect it, too, is a fictional place.
I
William Stoner entered the University of Missouri as a freshman in the year
1910, at the age of nineteen. Eight years later, during the height of World War I,
he received his Doctor of Philosophy degree and accepted an instructorship at
the same University, where he taught until his death in 1956. He did not rise
above the rank of assistant professor, and few students remembered him with
any sharpness after they had taken his courses. When he died his colleagues
made a memorial contribution of a medieval manuscript to the University
library. This manuscript may still be found in the Rare Books Collection, bearing
the inscription: "Presented to the Library of the University of Missouri, in
memory of William Stoner, Department of English. By his colleagues."
An occasional student who comes upon the name may wonder idly who
William Stoner was, but he seldom pursues his curiosity beyond a casual
question. Stoner's colleagues, who held him in no particular esteem when he was
alive, speak of him rarely now; to the older ones, his name is a reminder of the
end that awaits them all, and to the younger ones it is merely a sound which
evokes no sense of the past and no identity with which they can associate
themselves or their careers.
He was born in 1891 on a small farm in central Missouri near the village of
Booneville, some forty miles from Columbia, the home of the University.
Though his parents were young at the time of his birth--his father twenty-five,
his mother barely twenty--Stoner thought of them, even when he was a boy, as
old. At thirty his father looked fifty; stooped by labor, he gazed without hope at
the arid patch of land that sustained the family from one year to the next. His
mother regarded her life patiently, as if it were a long moment that she had to
endure. Her eyes were pale and blurred, and the tiny wrinkles around them were
enhanced by thin graying hair worn straight over her head and caught in a bun at
the back.
From the earliest time he could remember, William Stoner had his duties. At
the age of six he milked the bony cows, slopped the pigs in the sty a few yards
from the house, and gathered small eggs from a flock of spindly chickens. And
even when he started attending the rural school eight miles from the farm, his
day, from before dawn until after dark, was filled with work of one sort or
another. At seventeen his shoulders were already beginning to stoop beneath the
weight of his occupation.
It was a lonely household, of which he was an only child, and it was bound
together by the necessity of its toil. In the evenings the three of them sat in the
small kitchen lighted by a single kerosene lamp, staring into the yellow flame;
often during the hour or so between supper and bed, the only sound that could be
heard was the weary movement of a body in a straight chair and the soft creak of
a timber giving a little beneath the age of the house.
The house was built in a crude square, and the unpainted timbers sagged
around the porch and doors. It had with the years taken on the colors of the dry
land--gray and brown, streaked with white. On one side of the house was a long
parlor, sparsely furnished with straight chairs and a few hewn tables, and a
kitchen, where the family spent most of its little time together. On the other side
were two bedrooms, each furnished with an iron bedstead enameled white, a
single straight chair, and a table, with a lamp and a wash basin on it. The floors
were of unpainted plank, unevenly spaced and cracking with age, up through
which dust steadily seeped and was swept back each day by Stoner's mother.
At school he did his lessons as if they were chores only somewhat less
exhausting than those around the farm. When he finished high school in the
spring of 1910, he expected to take over more of the work in the fields; it
seemed to him that his father grew slower and more weary with the passing
months.
But one evening in late spring, after the two men had spent a full day hoeing
corn, his father spoke to him in the kitchen, after the supper dishes had been
cleared away.
"County agent come by last week."
William looked up from the red-and-white-checked oilcloth spread smoothly
over the round kitchen table. He did not speak.
"Says they have a new school at the University in Columbia. They call it a
College of Agriculture. Says he thinks you ought to go. It takes four years."
"Four years," William said. "Does it cost money?"
"You could work your room and board," his father said. "Your ma has a first
cousin owns a place just outside Columbia. There would be books and things. I
could send you two or three dollars a month."
William spread his hands on the tablecloth, which gleamed dully under the
lamplight. He had never been farther from home than Booneville, fifteen miles
away. He swallowed to steady his voice.
"Think you could manage the place all by yourself?" he asked.
"Your ma and me could manage. I'd plant the upper twenty in wheat; that
would cut down the hand work."
William looked at his mother. "Ma?" he asked.
She said tonelessly, "You do what your pa says."
"You really want me to go?" he asked, as if he half hoped for a denial. "You
really want me to?"
His father shifted his weight on the chair. He looked at his thick, callused
fingers, into the cracks of which soil had penetrated so deeply that it could not be
washed away. He laced his fingers together and held them up from the table,
almost in an attitude of prayer.
"I never had no schooling to speak of," he said, looking at his hands. "I
started working a farm when I finished sixth grade. Never held with schooling
when I was a young 'un. But now I don't know. Seems like the land gets drier
and harder to work every year; it ain't rich like it was when I was a boy. County
agent says they got new ideas, ways of doing things they teach you at the
University. Maybe he's right. Sometimes when I'm working the field I get to
thinking." He paused. His fingers tightened upon themselves, and his clasped
hands dropped to the table. "I get to thinking--" He scowled at his hands and
shook his head. "You go on to the University come fall. Your ma and me will
manage."
It was the longest speech he had ever heard his father make. That fall he
went to Columbia and enrolled in the University as a freshman in the College of
Agriculture.
He came to Columbia with a new black broadcloth suit ordered from the
catalogue of Sears & Roebuck and paid for with his mother's egg money, a worn
greatcoat that had belonged to his father, a pair of blue serge trousers that once a
month he had worn to the Methodist church in Booneville, two white shirts, two
changes of work clothing, and twenty-five dollars in cash, which his father had
borrowed from a neighbor against the fall wheat. He started walking from
Booneville, where in the early morning his father and mother brought him on the
farm's flat-bed, mule-drawn wagon.
It was a hot fall day, and the road from Booneville to Columbia was dusty;
he had been walking for nearly an hour before a goods wagon came up beside
him and the driver asked him if he wanted a ride. He nodded and got up on the
wagon seat. His serge trousers were red with dust to his knees, and his sunand
wind-browned face was caked with dirt, where the road dust had mingled with
his sweat. During the long ride he kept brushing at his trousers with awkward
hands and running his fingers through his straight sandy hair, which would not
He flat on his head.
They got to Columbia in the late afternoon. The driver let Stoner off at the
outskirts of town and pointed to a group of buildings shaded by tall elms. "That's
your University," he said. "That's where you'll be going to school."
For several minutes after the man had driven off, Stoner stood unmoving,
staring at the complex of buildings. He had never before seen anything so
imposing. The red brick buildings stretched upward from a broad field of green
that was broken by stone walks and small patches of garden. Beneath his awe, he
had a sudden sense of security and serenity he had never felt before. Though it
was late, he walked for many minutes about the edges of the campus, only
looking, as if he had no right to enter.
It was nearly dark when he asked a passer-by directions to Ashland Gravel,
the road that would lead him to the farm owned by Jim Foote, the first cousin of
his mother for whom he was to work; and it was after dark when he got to the
white two-storied frame house where he was to live. He had not seen the Footes
before, and he felt strange going to them so late.
They greeted him with a nod, inspecting him closely. After a moment, during
which Stoner stood awkwardly in the doorway, Jim Foote motioned him into a
small dim parlor crowded with overstuffed furniture and bric-a-brac on dully
gleaming tables. He did not sit.
"Et supper?" Foote asked.
"No, sir," Stoner answered.
Mrs. Foote crooked an index finger at him and padded away. Stoner followed
her through several rooms into a kitchen, where she motioned him to sit at a
table. She put a pitcher of milk and several squares of cold cornbread before
him. He sipped the milk, but his mouth, dry from excitement, would not take the
bread.
Foote came into the room and stood beside his wife. He was a small man, not
more than five feet three inches, with a lean face and a sharp nose. His wife was
four inches taller, and heavy; rimless spectacles hid her eyes, and her thin lips
were tight. The two of them watched hungrily as he sipped his milk.
"Feed and water the livestock, slop the pigs in the morning," Foote said
rapidly.
Stoner looked at him blankly. "What?"
"That's what you do in the morning," Foote said, "before you leave for your
school. Then in the evening you feed and slop again, gather the eggs, milk the
cows. Chop firewood when you find time. Weekends, you help me with
whatever I'm doing."
"Yes, sir," Stoner said.
Foote studied him for a moment. "College," he said and shook his head.
So for nine months' room and board he fed and watered the livestock,
slopped pigs, gathered eggs, milked cows, and chopped firewood. He also
plowed and harrowed fields, dug stumps (in the winter breaking through three
inches of frozen soil), and churned butter for Mrs. Foote, who watched him with
her head bobbing in grim approval as the wooden churner splashed up and down
